The New Yorker Checks in With Francis Alÿs

A still from 'REEL-UNREEL.' (Courtesy the artist and David Zwirner)

When Hurricane Sandy hit earlier this year, it delayed the opening of a Francis Alÿs show at David Zwirner. Thankfully, the gallery has repaired the space, and will present his work on Jan. 10. In this week’s New Yorker, Julie Belcove wanders around Manhattan with Mr. Alÿs as he looks for his doppelgänger. (Sort of a confusing thing: best to just read the story.) In the piece, the artist talks a bit about the strange, small paintings that he made in Afghanistan recently. Some were presented at Documenta 13 this summer in Kassel, Germany, and were at Zwirner when it flooded during the hurricane. Read More


‘The New Yorker’ Profiles Tino Sehgal

Marian Goodman, Sehgal, Andrew Richards. (Courtesy Patrick McMullan Company)

In this week’s edition of The New Yorker, Lauren Collins writes about artist Tino Sehgal, whose major new work These Associations just premiered in Tate Modern’s Turbine Hall with a team of 70 interpreters—included a former Observer editor—charged with telling various personal stories. At this point Mr. Sehgal’s various quirks are pretty well known—he refuses to travel by plane, tries to prevent people from photographing his work and sells his pieces verbally—but Ms. Collins assembles a superb and complete portrait of his career. Read More


Table Talk: Hunting for Murdock Pemberton, the First Art Critic of ‘The New Yorker’

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Portrait of Murdock Pemberton: The New Yorker's First Art Critic

A few years ago, Sally Pemberton was digging around her mother’s house on Long Island when she happened upon a suitcase that belonged to her grandfather, Murdock Pemberton, who had died in 1982 at the age of 94. She popped open the lock and found correspondence with his mistress, letters from artists and gallery brochures that stretched back to before World War II. Intrigued, she continued rummaging and soon found a second suitcase that contained kind letters from Alfred Stieglitz and Georgia O’Keeffe. Read More


Peter Paul Biro, Art Authenticator, Expands His Defamation Lawsuit Far Beyond ‘The New Yorker’ [UPDATE]

Peter Paul Biro. Courtesy The New Yorker.

Peter Paul Biro, the art authenticator who slapped The New Yorker with a defamation suit after he was the subject of an article titled, “The Mark of a Masterpiece: The man who keeps finding famous fingerprints on uncelebrated works of art,” is now suing more people including Gawker, Business Insider, Louise Blouin (owner of Artinfo) and Art Fag City. That original story, written by David Grann, questions Mr. Biro’s methods of authenticating work through forensic analysis of fingerprints. Read More